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Oh it's this thread again. Christ, you're all wrong about everything! The King of Limbs rules. Codex - the song TKOL haters like, because it most resembles previous Radiohead songs - is the only weak track. The live versions are cool but the album's better. The whole point is that it's built on loops and cycles. When you play that with real human beings it's definitely exciting and I'm glad it happened, but it's also kind of a giant mess. My Twisted Words also rules. It's spooky and groovy at the same time. What more could you want from a Radiohead track? Motorik 4/4 drumming with a 5/4 guitar riff. Sign me up. Tomorrow's Modern Boxes is a mature electronic album by someone who has been trying to make proper electronic music for a very long time. I appreciate how minimal and focused it is. It shits all over The Eraser, which is basically a compilation of scrappy bedroom demos stitched together by a world-class producer. The Motherlode's vocal melody is one of the best Yorke's ever come up with.
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Mar 6, 2016 16:56
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ZoDiAC_ posted:It would be nice if we had a Radiohead that wasn't just subjective opinion My Radiohead opinions are objectively correct and I can prove it.
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Mar 7, 2016 04:53
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Mutant Standard posted:I think Thom Yorke was tired of how Radiohead songs would traditionally climax or break down. So he tried to write songs that did so in ways that were more subtle. I think this is exactly right. Radiohead's "classic" songs are known for their climactic releases - "For a minute I lost myself" in Karma Police, the strings swelling in Reckoner, All I Need's big outro, There There and Paranoid Android's guitar freakouts, etc. But The King of Limbs is all about the denial of catharsis, the unbroken water... There isn't a single crash or ride cymbal anywhere on the album, and that's incredibly revealing.
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Mar 7, 2016 08:22
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Corvo posted:I miss these. I know they wouldn't really fit nowadays with how Radiohead has evolved over the years but Jonny really could play. Well, after OKC people thought the Jonny solos were gone forever too - not a jot of them on Kid A or Amnesiac - but you have classic frenetic guitar work from Jonny on HTTT and In Rainbows. So it being absent for TKOL isn't necessarily a death sentence.
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Mar 10, 2016 11:24
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HD DAD posted:Honestly, I'd rather them having waited a bit until they realized to put in that sweet bassline Colin plays in the live version of The Gloaming. Ed: "We should have pruned it down to 10 songs, then it would have been a really good record." Colin: "I didn't want three or four songs on there, because I thought some of the ideas we were trying out weren't completely finished." Such as? "The Gloaming. We played it live and it was cool. My brother [Jonny] sampled each of the instruments on stage, cut them up then sent them back into the mix. It was so exciting, like a live DJ show, and Thom performed off of all of that. But it wasn't the same in the studio." I strongly suspect Radiohead performed The Gloaming for the From the Basement live album because they wanted to get some "fixed" version out there in some form. The same might be true of Myxomatosis - the From the Basement version's simplified arrangement (particularly the drumming) is a huge improvement over the record, IMO.
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Mar 11, 2016 16:35
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I'm slightly concerned that the limited scale of this tour - small venues and festivals only - suggests this is another "road test" tour, like the 2006 one before In Rainbows. In which case we won't see the album until 2017 or later. On the other hand, everyone likes In Rainbows.
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Mar 14, 2016 17:04
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Earwicker posted:there are a bunch of large venues on that list though I stand corrected - but it's still a little like the 2006 tour where they used some smaller venues. The Roundhouse in London is a surprise considering on their last tour they sold out the O2 stadium. Twice. I think it's more likely than not that they'll announce the album before the tour starts, but doing it this way round is pretty strange.
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Mar 14, 2016 18:25
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MSG, Le Zenith, and the Shrine Auditorium are some of the bigger venues in their respective cities and they are doing multiple nights at each. Palacio de los Deportes is a huge rear end stadium. Doesn't seem like a road test..
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Yeah, I like it too. To me it looks like Identikit sounds - sexy and slinky and slick. I hope we hear a studio version of that.
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Mar 14, 2016 19:37
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Little by Little owns. It's sexy and slinky and catchy and silly all at the same time. The only thing that bugs me is the apparent lack of bass guitar. I mean, isn't that weird? To just have no bassline at all (at least on the record)?
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Mar 23, 2016 06:35
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Nail Rat posted:Feral only has like one six second bass doodle. That's a different kettle of fish, that's an abstract, cut-up electronic track. But Little by Little is a rock song with guitars, choruses and a bridge.
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Mar 26, 2016 04:23
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No news yet, but to tide everyone over, here is a song I posted in the last thread by Beacon, which I think any fan of Thom Yorke, bleeps and bloops should enjoy: https://www.youtube.com/watch?v=rcZhTkBeS8s This has some of the best opening bleeps and bloops to ever open a piece of song IMO.
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Apr 2, 2016 10:47
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I worry about Radiohead fans sometimes. This wait has really damaged a few people.
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Apr 4, 2016 05:50
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HTTT owns, but yes, it is messy, rushed, unfinished, bloated. On the other hand, it was written in response to an era - and politics - which were also messy, rushed, unfinished, and bloated, so in that sense it's appropriate. Kinda. Sorta. Everyone agrees it needs fewer tracks, but no one agrees which ones need the cut. Personally I think opening with There There is too good not to do, even if it means 2+2=5 feeling a bit lost somewhere else. I did never like that opening with static and "that's a good way to start, Jonny", though - that sort of off-mic loving around is really out of character with the band and the rest of the album. ICHIBAHN posted:Does Thom often suggest alternative track listings? Nope, only for HTTT and only, I think, because the band (and everyone in the entire world) agrees that the album was rushed and unfinished. BigFactory posted:The big problem to me is that it's mixed like a rock album compared to Amnesiac which is super lush and dreamy. Thom insisted that they use rough mixes for most of Hail to the Thief, which seems to have caused Nigel Godrich lasting pain ever since. He said in an interview with some music tech students a couple of years ago that he thought the album sounded "brown". At the time the band was insisting on doing stuff quickly and not overthinking stuff (because making Kid A and Amnesiac had nearly killed them), so I guess that's where Thom was coming from. I also suspect it led to a bit of a falling out and that's why they didn't hire Nigel again for In Rainbows, but then of course they couldn't make it without him so they hired him back. That's just my speculation though. Popcorn fucked around with this message at 04:21 on Apr 5, 2016 |
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Apr 5, 2016 04:08
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Myxomatosis is, in my opinion, the Radiohead song that made the biggest jump, quality-wise, from studio to performance (or vice-versa, depending on which way you look at it). The live version benefits from simplified drumming, and as far as I'm concerned the drumming absolutely makes the song. The From the Basement performance is so good, in fact, that I sometimes think it's the best thing Radiohead ever did. The studio version suffers from being too cut-up and layered, which works for a lot of Radiohead songs (like the entirety of King of Limbs IMO), but not Myxomatosis. I don't much like the version they played on the last tour, though. They had two drummers so took the opportunity to overcomplicate the rhythm section again. Sounds a drat mess.
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Apr 5, 2016 07:46
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Word on the street is Paul Thomas Anderson has directed a music video for Radiohead: http://cigsandredvines.blogspot.jp/2016/04/pta-may-have-directed-new-music-video.html Sounds like they're going expensive for this one.
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Apr 10, 2016 13:43
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Princeps32 posted:Just a cool guy note that re-listening to I Might Be Wrong live album on spotify is a healthy reminder that the Kid A / Amnesiac era live interpretations are unbelievably high quality and they did The Right Thing by not including OK Computer/Bends stuff on that album (True Love Waits kind of excepted, but it's a wonderful coda so who cares). The mystery is why they didn't include every Kid A/Amnesiac song. Why only seven?
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Apr 21, 2016 05:21
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People who ordered stuff from Radiohead are receiving these menacing little postcards today.
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Apr 30, 2016 10:16
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If only they could delete all my posts too.
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May 2, 2016 02:34
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Polo-Rican posted:I like the verse but the chorus falls really flat for me - I think it needs a change of instrumentation there. Thom sings a long sustained high note and the reverb gets cranked up but the strings continue basically unchanged. This is one of those tracks that will probably sound better live because the band will be reacting to one another, as opposed to Thom singing over a prerecorded Johnny Greenwood recording. This is interesting, because I'm the opposite - the verses are the weakest part. It's just two chords and a very simple melody, whereas the chorus is where things lift up. I really like the "we know where you live" melody. I also really like the electronic percussion over the strings, especially the hi-hats. I like the song, but there's something missing. The second verse has some rather weak lines, I think - "red crosses on wooden doors / if you float you burn / loose talk around tables / abandon all reason". They feel disconnected and groundless, melodically, rhythmically... they feel like placeholders. By comparison, the next lines, "Avoid all eye contact / do not react", are much more satisfying simply because they rhyme, for a start. I also feel, like Spectre, that it ends too suddenly. It's just verse-chorus-verse-chorus. It might seem like a bizarre thing to say, especially coming from someone who is happy to leave guitar rock Radiohead in the 90s, but the thing I keep thinking is "where's the guitar solo?" I picture a weird, cut-up distorted guitar line entering at the end, something savage and cutting, but it never comes. Still. Cute song. Excited to hear the album. Popcorn fucked around with this message at 08:24 on May 4, 2016 |
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May 4, 2016 08:19
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Hedrigall posted:Spectre had a very tight timeframe it had to fit into. That's just an assumption, though. We don't know if they had even finished writing or recording the song before it was decided not to use it for the film. Radiohead themselves might have been the ones to walk away from the deal. You never know.
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May 4, 2016 09:24
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Princeps32 posted:that section might be my favorite actually, that's when the strings get all pretty for a minute. No objection to the strings there, they're gorgeous. It's the vocals/lyrics that don't work for me.
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May 4, 2016 15:46
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Astrochicken posted:The song is starting to remind me of Airbag. Notice the funky drumbeat that does the mix-up/start stop thing in the middle, the bass cameo after "abandon all reason". Yeah, the bass reminded me of Airbag straight away too.
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May 6, 2016 02:51
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Spent the whole song becoming increasingly anxious that the drums were never going to turn up.
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May 6, 2016 16:38
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One fan's absurdly detailed guesswork at how Burn the Witch was made: http://thekingofgear.com/post/144025326245/radioheads-burn-the-witch-instrumental-and
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May 8, 2016 09:59
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People are saying the name and track list have leaked via Amazon or something. I hope it's fake because if it's real then Radiohead have given their new album the shittest name ever.
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May 8, 2016 16:14
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So. Radiohead don't know how to use hyphens. I mean, obviously Thom doesn't. But there's arty bad grammar and then there's "no one at any point in the production chain noticed" bad grammar. Very disappointing. If they'd made it available for pre-order I'd cancel mine.
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May 8, 2016 17:36
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Clearly someone noticed the lack of hyphen. They're working round the clock, frantically inserting hyphens to every digital copy.
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May 8, 2016 18:02
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So if I understand correctly, if enough of us order the special edition, and then really go to work with the sellotape, we should be able to recreate the 2006 version of Videotape?
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May 8, 2016 19:22
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Watch out, guys. Ful Stop... is... syncopated.
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May 8, 2016 19:35
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Jesus Christ, it feels like there's a new set of sounds and ideas every 10 seconds on this album. It's boggling me something proper. Going to take me months to unpack it all. I know it was inevitable but listening to Identikit now is so, so, so loving weird after having listened to the live version so much over several years. Fun times.
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May 8, 2016 19:47
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Someone is going mental on a piano in the left or right channels more or less constantly on this album.
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May 8, 2016 20:07
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Right. My initial reaction is that I don't understand this album at all and TKOL was better. I understand this makes me very strange. It's definitely super fascinating, but there's just way too much poo poo in it for me to get my head round yet. I found it difficult to get a lock on anything. Looking forward to trying again tomorrow.
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May 8, 2016 20:09
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HD DAD posted:And yep, he's responsible for Street Spirit, Meeting In The Aisle, Big Boots, and I think Go To Sleep. Probably more, but who knows. I've often heard fans claim Ed wrote the Street Spirit and Go to Sleep riffs but I've never found a source, and I'm pretty sure I've read every Radiohead thing ever. Can you back this up?
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May 10, 2016 04:58
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The thing that trips me up about this album is the rhythm. Or lack of it. Like, historically, Radiohead songs have a certain rhythmic rigidity, a clear pulse. Even when they're using weird time signatures or polymeters, everything snaps into a locked tempo. Pyramid Song sounds like it's adrift at first, for example, but the drums make sense of it. ... Whereas like half of AMSP drifts around dreamily, hazily, free tempo-style. I really, really want some Pyramid Song-style drumming to enter halfway into Daydreaming, to lay down that classic rhythmic grid, but it never happens; I suppose it would have been the obvious thing, oh well. It's not just the rhythm, either. The decision to have Ful Stop fade in and fade out, rather than have a clear beginning and end, is quite strange. Again, it makes the song seem less definite and more hazy, fuzzy-edged. It's weird for a song called Ful Stop to not have a definitive full stop ending.
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May 11, 2016 05:04
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Famethrowa posted:Tinker Tailor wasn't working for me at first, but 10 plays in I'm really loving it. Reminds me of a spookier Gorillaz. Strangely the opening piano notes of Decks Dark also remind me of Gorillaz.
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May 11, 2016 16:29
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Am I the only one who hears thunder on Identikit? It might just be bassy drum hits EQd to sound like thundercracks. Anyway. Dig this, you cats. I seem to have been born with reverse Radiohead genes, because I loved TKOL, but I merely like AMSP. I've listened to it a few times, and I still find it kind of blurry and smudgy and difficult to get a clear view of. That's obviously the point, but still... several of the tracks just run together for me. I can never remember, for example, which song is Desert Island Disk and and which is The Numbers; they are both "folky Neil Young acoustic guitar things with strings". Likewise there are several dreamy piano ballads: Daydreaming, Glass Eyes and True Love Waits. The songs seem to use the same arrangements, with all those strings and the improvised overdubbed twinkling pianos in the left and right channels, and the lack of rhythm. (As I wrote before, the lack of rhythm is one of the things I really miss, and maybe that's why I love TKOL so much.) Only Burn the Witch, Ful Stop and Identikit really stand out in clear definition to me. True Love Waits leaves me cold. I'm not sure why. It's a song I used to strum on acoustic guitar myself, many years ago, but I'd long made my peace with it and would have been happy to never see it resuscitated. I suppose it would never have worked as anything other than a minimal ballad, but I just find the album version... bland, flat. It's a song that should feel like a relief, a relaxing of tension, but it just sucks all the energy out of the room for me. I do love Ful Stop though. Why? It's got driving syncopated Radiohead rhythm section. I suppose that might be all I ever wanted. How disappointing of me. edit: same with Decks Dark. Popcorn fucked around with this message at 04:03 on May 13, 2016 |
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May 13, 2016 03:38
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BeanpolePeckerwood posted:I think they should've cooked AMSP a bit longer because while a lot of the material on the album is strong the order of the tracks is pretty lame. I think it's overstuffed, too long, too busy. Not a mistake I thought they'd make again. What is it with the track listing, anyway? Why is it in alphabetical order? They either decided to just go with them alphabetically, in which case that surely can't be the optimal track list, or retroactively named the tracks to make them alphabetical, in which case they surely can't be the optimal track names. (It would explain the weirdness of some of the names, though.) And yes, Amnesiac is the best. Popcorn fucked around with this message at 04:13 on May 13, 2016 |
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May 13, 2016 04:06
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I think the album cover is shite n all. Just bland, bland bland. A return to the IR swirls-n-shapes thing but without the interest.
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May 13, 2016 04:52
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I'm with Beanpole. OK Computer owns, but it's a touch too long. Whereas I really value how concise and boxed-in TKOL is - it's a fizzing knot of energy. To me it's more important how much sense a bunch of songs make together than it is how long the running time adds up to. Part of the reason I think AMSP feels too long to me is the sameness of the arrangements, and the way the edges blur together, like I said. By the end of it, I've had enough, and am in no mood to sit through True Love Waits.
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May 13, 2016 05:40
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Christ, those overdubbed tinkling pianos. Do it on one track, please, not four.
Popcorn fucked around with this message at 05:58 on May 13, 2016 |
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May 13, 2016 05:43
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